The white canvas seems to be the only previous structure assumed by the artist Juanjo San Pedro, his only physical and metaphysical suppot, his god, his device and reference, his past and memory, his time. At any rate he has always bucked the trends (…)

These fluid subtances of Juanjo San Pedro affect us like another’s dream (Da Vinci, Max Ernst): in themselves they show us nothing (silence) about our lives; nor do they make any reference about our habitual material reality but rather to our naked self, observed from outside, without complicity, with strangerness and inocence, but ours when al lis said and done. (…)

These landscapes/passageways provisionally arrogate to themselves our true destiny, among the following forms, unconscious and spontaneous, of the lansdcape of the mind. It is our landscape, our true mental landscape that flows wakelessly among memory and oblivion.

Antonio Zaya
Bucking the Trends. Figurelles Landscape Abstractions?


Withdrawing my gaze from an inmense untitled I make bold to moot that maybe art is not and end but rather a means of speaking about life, for it trancends the aesthetic experience itself. I suggest that Juanjo San Pedro, more that delight in perception, seeks rather the very feelings that are provoked by this delight in perception. The veiled knowledge that is discovered through enjoyment and disquiet. The non-gnostic, endopathic, spiritual knowledge for wich ther are no words and wich nonetheless exists.

I fall to thinking about a possible comunion in the benightedness, for I sense that I will never know what provoked the creative act of each one of Juanjo San Pedro’s works, becouse such causes would vary themselves from one instant to another. I also think that he himself will never know what is provoked in me by my contemplation of his creations, for not even I know this, since it changes at each instant. Maybe the grandeur of art is its ability to forge a comunion of feelings wherever it is deemed impossible for there to be an encounter of wills.

Eloy Martínez de la Pera
The Transforming Frisson of Contemplation

The painter Juanjo San Pedro, painter-cum-poet, has made this gesture of standing back from his work and has seen, satisfied and gratified, that the autum. Has turned his florid springtime fancy into fruits. (…)

San Pedro´s painting is also living now its revolution, wich is not mutation only but also transubtatiation. Dreams undergo in his painting the same process as the grape being turned into wine and aspire to that Miracle whereby the wine is turned into Blood.

Juanjo san Pedro’s oils and watercolours strike us as the fruit and result of fermentations distillations acheived alter knowing oneself, after having eschewed excesess and pursued unwaveringly the “well done work”.

Alfredo Amestoy


Dreaming is a political act. Telling the dream -sharing it- it’s a revolutionary act. The dreams/paintings of San Pedro shift between the relation of this and that, between the ladscape surrounding him and the landscape he imagines, between his voice and the voice of the other- the one who respondes to his narration-.  They are transformed landscapes, taken from here and converted in utopias of light (…) A tale of displacement where the reflection turns out to be more important than anything else, for there lies the freedom itself to imagine, to shrug off what has been conscientiously bestowed by the reason and logic.

It’is in fact this transitiveness, this transit towards The Other, that,cautiously courting madness, makes San Pedros’s paintings take up again he temporal dimension of the artistic work. Placing the artist and the spectator in a coordinate of possibility, of realisable comunication, can only help to restore its deepest sense to the painterly experience, i. e., to share the feeling. Only in the certainty that someting is being shared-thereby inseminating the universe with new fancied worlds- can the artist once more become a revolutionary.

Abraham San Pedro
A Private Revolution